Liudmila Georgievskaya is internationally acclaimed for her piano skills, and on Monday evening, she graced Gasson with her talent during a two-hour recital in honor of the late Sofia Gubaidulina.
Gubaidulina was a visionary Russian composer who passed away in March of this year. She changed the landscape of music by adopting a spiritual perspective on composition and performance. The third song that Georgievkaya performed, “Chaconne,” was composed by Gubaidulina and drew inspiration from Johann Sebastian Bach—one of Gubaidulina’s lifelong influences.
The recital began, however, with a performance of “Prélude, Book 1,” composed by Claude Debussy. The piece has 12 sections, each with its own unique feel and flair. The sections ranged from intense and violent belts on the piano to light, airy riffs through the upper registers. Peace and chaos worked together to create striking differences between each section of the composition.
“In this case, it was 12 different images,” said Georgievskaya. “It was more than just a story. I would say it’s like a film, like a movie.”
Georgievskaya performed all of “Prélude, Book 1” without rest and from memory, which resulted in over 45 minutes of passionate piano playing without pause.
“It’s difficult,” Georgievskaya said. “Even though it’s challenging, it’s so worth it … It’s really a creative experience, and I enjoy it in spite of the challenge.”
“Prélude, Book 1,” was followed by a short intermission, after which Georgievskaya played the original “Chaconne” by Bach. The piece received a standing ovation from the audience, as it offered Georgievskaya the chance to really showcase her talents. Her facial expressions and hand gestures often matched the intensity of the music, ranging from grief to joy, and even mischief.
The third piece was a performance of Gubaidulina’s rendition of “Chaconne.” The songs’ order allowed the audience to compare Bach’s order and fundamentals to Gubaidulina’s emotional intensity. A page turner joined Georgievskaya on stage to help her keep pace with the song without having to pause the music.
The final performance of the recital was preceded by a reading of the poem On Children by Kahlil Gibran, about how our children don’t stay ours forever, similar to how a musical composition grows and evolves, even after the passing of the composer.
The last song in Georgievskaya’s set was “Mysterium doloris quintae,” composed by Boston College professor and world-renowned composer Ralf Gawlick.
“Gawlick is one of the most fantastic artistic personalities of our time,” said Georgievskaya. “He composed this piece, and I’m honored to play it.”
The piece had a unique personality that shone through the contrast of peaceful sections with abrupt, commanding intersections. Georgievskaya congratulated Gawlick, as he did the same, and the crowd gave both composer and performer a standing ovation.
“It’s supposed to be a very purifying experience,” said Georgievskaya. “Music takes you away from the everyday thoughts and standards of routine … It’s only possible during a live performance. I think it’s really special, and I hope people perceive that.”
